"employer Count Almaviva to seduce Susanna and teaching him a lesson in fidelity. The opera is a cornerstone of the repertoire and appears consistently among the top ten in the Operabase list of most frequently performed operas. Beaumarchais's earlier play ""The Barber of Seville"" had already made a successful transition to opera in a version by Paisiello. Beaumarchais's ""Mariage de Figaro"" was at first banned in Vienna; Emperor Joseph II stated that ""since the piece contains much that is objectionable, I therefore expect that the Censor shall either reject it altogether, or at any rate have such alterations made in"
"resigns himself. As a consolation he is given Rosine's dowry money to keep. Giovanni Paisiello's opera based on the play was first performed in 1782, but it is Gioachino Rossini's opera, ""The Barber of Seville"", premiered in 1816, that has better stood the test of time. Other lesser-known adaptions include those by Nicolas Isouard in 1796, Alexander Reinagle and Samuel Arnold in 1794, and Francesco Morlacchi in 1816. Figaro is inspired by the Commedia dell'arte character of Brighella, and like his predecessor he is a clever liar; moral and yet unscrupulous; good humored, helpful and brave, though somewhat embittered and"
"and Rossini such as ""Le nozze di Figaro"", ""Don Giovanni"", ""Cosi fan tutte"", ""Il turco in Italia"", ""L'italiana in Algeri"", ""Il barbiere di Siviglia"", ""La Cenerentola"" but also in works by Donizetti such as ""L'elisir d'amore"", ""La fille du régiment"" and ""Don Pasquale"". In some of these works he often alternated roles, from Figaro to the Count in ""Nozze"", Guglielmo to Alfonso in ""Cosi"", Belcore to Dulcamara in ""Elisir"", Malatesta to Pasquale in ""Don Pasquale"", etc. He also took part in many revivals of opera by Pergolesi, Scarlatti and Cimarosa. He even recorded with Marilyn Horne the first modern performance"
"Figaro and Susanna in Mozart's The Marriage of Figaro. It reached London in 1786, where, as in many other European cities, it enjoyed great success. Franz Joseph Haydn composed two insertion arias for the work, one lost, the surviving aria, Dice benissimo, for bass & orchestra, H. 24b/5. The plot of the opera involves love intrigues, attempted seductions and provocations to jealousy between members of the three different social strata: the aristocracy, the bourgeoisie and the working class. The role of the Lieutenant is a close parallel to that of Don Alfonso in Mozart's Così fan tutte. La scuola de'"
"buffe"". After two hundred years, it remains a popular work. Rossini's opera recounts the events of the first of the three plays by French playwright Pierre de Beaumarchais that revolve around the clever and enterprising character named Figaro, the barber of the title. Mozart's opera ""The Marriage of Figaro,"" composed 30 years earlier in 1786, is based on the second part of the Beaumarchais trilogy. The first Beaumarchais play was originally conceived as an opéra comique, but was rejected as such by the Comédie-Italienne. The play as it is now known was premiered in 1775 by the Comédie-Française at the"
"of Figaro"", and occasionally performed as Don Giovanni. He is regarded by some as the best Eisenstein (from Die Fledermaus by Johann Strauss II) ever. He was at home with comic opera Italian-style, displaying scenic intelligence, liveliness and hilarity. His virtuoso agility and great comic acting made him an obvious choice for numerous productions of Mozart's and Rossini's operas in the 1970s. In 1972 he performed as Figaro in Jean-Pierre Ponnelle's television film of Rossini's ""Il Barbiere di Siviglia"" with Teresa Berganza as Rosina, Luigi Alva as Almaviva and conductor Claudio Abbado. He appeared alongside Fritz Wunderlich and Hans Hotter"
"the solo right before the opera section. Then the opera section begins, he walks off stage. Doing the headbanging section Roger comes up on the Heartbreak Hotel platform and Brian runs back on stage (only at Dominion Theatre. Elsewhere Roger's drum kit is being pushed by stage crew and Brian runs on stage.) They perform the headbanging section with the cast and the low key section. They end it all with a big ending before the stage goes into blackout. Galileo Figaro – The central character of the musical; a dreamer who hears strange words in his head. He is"
"The Marriage of Figaro The Marriage of Figaro (, ), K. 492, is an opera buffa (comic opera) in four acts composed in 1786 by Wolfgang Amadeus Mozart, with an Italian libretto written by Lorenzo Da Ponte. It premiered at the Burgtheater in Vienna on 1 May 1786. The opera's libretto is based on a stage comedy by Pierre Beaumarchais, ""La folle journée, ou le Mariage de Figaro"" (""The Mad Day, or The Marriage of Figaro""), which was first performed in 1784. It tells how the servants Figaro and Susanna succeed in getting married, foiling the efforts of their philandering"
"active as a performer with the Philadelphia Civic Grand Opera Company and the Philadelphia Opera Company. Among the many roles he performed at the Academy of Music in Philadelphia were Colline in ""La bohème"", Don Alfonso in ""Così fan tutte"", Figaro in ""The Marriage of Figaro"", Fiorello in ""The Barber of Seville"", Frank in ""Die Fledermaus"", Hans Foltz in ""Die Meistersinger von Nürnberg"", Hunding in ""Die Walküre"", Méphistophélès in ""Faust"", the Notary in ""Der Rosenkavalier"", Simone in ""Gianni Schicchi"", Spalanzani and Crespel in ""The Tales of Hoffmann"", and Zuniga in ""Carmen"" among others. In 1942 he created the role of"
"Zamboni managed an Italian opera company in St Petersburg for two seasons, performing Rossini and other works. Luigi Zamboni Luigi Zamboni (1767 – 28 February 1837) was an Italian operatic buffo bass-baritone. He was born in Bologna, where he began his singing career in 1791 in a production of Cimarosa's ""Il fanatico burlato"". Engagements followed in Naples, Parma, Venice and Rome, where he sang in operas by Valentino Fioravanti, Paisiello and others. He retired from the stage in 1825. He died in Florence. The part of Figaro in ""The Barber of Seville"" was written for Zamboni by Gioachino Rossini, who"
"were written for alto and soprano voices and acted by women ""en travestie"" (in English, in ""trouser roles""). The most familiar trouser role in pre-Romantic opera is Cherubino in Mozart's ""Marriage of Figaro"" (1786). Romantic opera continued the convention: there are trouser roles for women in drag in Rossini's ""Semiramide"" (Arsace), Donizetti's ""Rosamonda d'Inghilterra"" and ""Anna Bolena,"" Berlioz's ""Benvenuto Cellini,"" and even a page in Verdi's ""Don Carlo."" The convention was beginning to die out with Siebel, the ingenuous youth in Charles Gounod's ""Faust"" (1859) and the gypsy boy Beppe in Mascagni's ""L'Amico Fritz,"" so that Offenbach gave the role"
"appeared with the Chicago Opera, the San Francisco Opera, the Paris Opéra, the Teatro Real in Madrid and the Teatro Colón in Buenos Aires. Stracciari performed widely, too, in his native Italy and retired from the stage in 1944. He is above all associated with Rossini's great comic creation Figaro, in ""Il barbiere di Siviglia"", which he sang an estimated 1000 times, and ""Rigoletto"", in Verdi's tragic opera of the same name. He made complete recordings of these two works in 1929, opposite Mercedes Capsir and Dino Borgioli. Both of these recordings are of particular historical value as illustrations of"
"Ferruccio Furlanetto Ferruccio Furlanetto (born 16 May 1949 in Sacile, Italy) is an Italian bass. His professional debut was in 1974 in Lonigo, he debuted at the Teatro alla Scala in Milan in 1979, in a production of Verdi's ""Macbeth"", conducted by Claudio Abbado. He has gone on to sing numerous roles, including both Don Giovanni and Leporello in Mozart's ""Don Giovanni"", Philip II in Verdi's ""Don Carlos"", Figaro in Mozart's ""Le nozze di Figaro"", Gremin in Tchaikovsky's ""Eugene Onegin"", Zaccaria in Verdi's ""Nabucco"", Méphistophélès in Gounod's ""Faust"", Orestes in Strauss' ""Elektra"", Fiesco in Verdi's ""Simon Boccanegra"", the title role"
"Figaro appears, chased by his wife Susanna, his employer Count Almaviva, his many creditors and quite a lot of women claiming he is the father of their children. Figaro, now aging but still as wily and clever as ever, lists his many achievements in a lengthy aria. Meanwhile, Count Almaviva is engaged in a secret plan to sell Marie Antoinette's jeweled necklace to the English ambassador to buy the Queen's freedom. The Count, Beaumarchais explains, is estranged from his wife Rosina due to her affair, years earlier, with the now-dead Cherubino, an assignation which produced a son, Léon. Léon wants"
"little freedom because Bartolo plans to marry her once she is of age and thus appropriate her not inconsiderable dowry. Figaro approaches singing (Aria: ""Largo al factotum della città""; ""Make way for the factotum of the city""). Since Figaro used to be a servant of the Count, the Count asks him for assistance in helping him meet Rosina, offering him money should he be successful in arranging this. (Duet: ""All'idea di quel metallo""; ""At the idea of that metal""). Figaro advises the Count to disguise himself as a drunken soldier, ordered to be billeted with Bartolo, so as to gain"
"cannot punish Cherubino, as he himself was only in Susanna's quarters to proposition her. The Count sends Cherubino away instead, to his regiment in Seville. In this aria, Figaro teases Cherubino about his Spartan military future, in stark contrast with the pleasant and flirtatious life he has enjoyed in the Count's palace. The libretto of ""Le Nozze di Figaro"" was written by librettist Lorenzo Da Ponte, who collaborated with Mozart on two other operas, ""Così fan tutte"" and ""Don Giovanni"". <poem lang=""it"" style=""float:left;""> Non più andrai, farfallone amoroso, notte e giorno d'intorno girando; delle belle turbando il riposo Narcisetto, Adoncino"
"voluminous dresses onstage. Some male operatic roles originally written to be sung in the voice range of castrati (men castrated in boyhood, whose voices never descended into the normal male register) are now usually cast with female singers in male costume. Beethovens' only opera, ""Fidelio"", is unusual in that it features a female character who cross-dresses as part of the plot. ""Fidelio"" involves a woman who disguises herself as a young man as part of a plan to rescue her husband from prison. In ""The Marriage of Figaro"" Cherubino dresses as a girl to avoid army duty. The part of"
"he made his debut at La Scala as Masetto in Mozart's ""Don Giovanni"" under conductor Riccardo Muti. He made his United States debut in 1988 as Figaro in ""The Marriage of Figaro"" at the Metropolitan Opera. He has since performed leading roles at the Berlin State Opera, the Cologne Opera, the Frankfurt Opera, the Glyndebourne Festival Opera, the Israeli Opera, La Fenice, the New National Theatre Tokyo, Opera Australia, the Rossini Opera Festival, the Royal Opera House in London, the Teatro Colón, the Teatro Comunale di Bologna, the Teatro Comunale Florence, the Teatro di San Carlo, and the Vienna State"
"Luigi Zamboni Luigi Zamboni (1767 – 28 February 1837) was an Italian operatic buffo bass-baritone. He was born in Bologna, where he began his singing career in 1791 in a production of Cimarosa's ""Il fanatico burlato"". Engagements followed in Naples, Parma, Venice and Rome, where he sang in operas by Valentino Fioravanti, Paisiello and others. He retired from the stage in 1825. He died in Florence. The part of Figaro in ""The Barber of Seville"" was written for Zamboni by Gioachino Rossini, who was also a family friend. Zamboni created the role in Rome on 20 February 1816. In 1829"
"Se vuol ballare The cavatina """" is an aria for baritone or bass from the first act of the opera ""The Marriage of Figaro"" by Wolfgang Amadeus Mozart. The libretto was written by Lorenzo Da Ponte based on a stage comedy by Pierre Beaumarchais, La folle journée, ou le Mariage de Figaro (1784). The Italian title means ""If you want to dance"". The song is sung by Figaro upon discovering the count's ploys to exercise his newly reasserted feudal , the """" to sleep with Figaro's wife Susanna before the consummation of their marriage. Figaro sings of how he will"
"in more than 30 opera roles, including Gennaro, Jacopo Foscari, Tamas in ""Gemma di Vergy"", and the title role in ""Dom Sébastien"". Some of his last appearances were at the Teatro Comunale di Bologna in 1856 as Carlo in Verdi's ""I masnadieri"", Matteo Borsa in Verdi's ""Rigoletto"", and Rodolfo in ""Luisa Miller"". Giacomo Roppa Giacomo Roppa was an Italian operatic tenor who was active career in Italy's most important opera houses from the 1830s through the 1850s. He also made appearances at the Liceu in Spain. He is best remembered for creating the role of Jacopo Foscari in the world"
"Masters"" (1743) by Carlo Goldoni, the ""Figaro"" plays of Pierre Beaumarchais, and especially ""Love for Three Oranges"", ""Turandot"" and other ""fiabe"" by Carlo Gozzi. Influences appear in the lodgers in Steven Berkoff's adaptation of Franz Kafka's ""The Metamorphosis"". Through their association with spoken theatre and playwrights ""commedia"" figures have provided opera with many of its stock characters. Mozart's ""Don Giovanni"" sets a puppet show story and comic servants like Leporello and Figaro have ""commedia"" precedents. Soubrette characters like Susanna in ""Le nozze di Figaro"", Zerlina in ""Don Giovanni"" and Despina in ""Così fan tutte"" recall Columbina and related characters. The"
"Giacomo Roppa Giacomo Roppa was an Italian operatic tenor who was active career in Italy's most important opera houses from the 1830s through the 1850s. He also made appearances at the Liceu in Spain. He is best remembered for creating the role of Jacopo Foscari in the world premiere of Giuseppe Verdi's ""I due Foscari"" in 1844. In 1832 Roppa portrayed the role of Guelfo in the world premiere of Giuseppe Fournier-Gorre's ""Francesca da Rimini"" at the Regio Teatro degli Avvalorati di Livorno. He also appeared at that theatre that year as Osburgo in Vincenzo Bellini's ""La straniera"". In 1834"
"of a 1783 pantomime in which Mozart and Aloysia Weber are said to have taken part.) In 2006, the 250th anniversary of Mozart's birth, the fragment of ""Lo sposo deluso"" received several performances, including: Note that the opera was unfinished and never premiered as such. The singers' names given in the table below are those for whom Mozart wrote the roles and who were to have sung in its premiere. The setting is a seaside villa near Livorno. The cast is nearly identical to that of the first ""Le nozze di Figaro"". Benucci was the first Figaro. Storace the first"
"here, Figaro there, Figaro up, Figaro down. Swift and swifter, quick as lightning: Room for the city's factotum here. Ah, bravo, Figaro! bravo, bravissimo! In very truth the most lucky of men.</poem> Largo al factotum """" (Make way for the factotum) is an aria from ""The Barber of Seville"" by Gioachino Rossini, sung at the first entrance of the title character; the repeated ""Figaro""s before the final patter section are an icon in popular culture of operatic singing. The term ""factotum"" refers to a general servant and comes from Latin where it literally means ""do everything"". <score>{ \clef bass \time"
"by an actress in boy's clothes. The practice of women performing ""en travesti"" in operas became increasingly common in the early 19th century as castrato singers went out of fashion and were replaced by mezzo-sopranos or contraltos in the young masculine roles. For example, the title role of Rossini's 1813 ""Tancredi"" was specifically written for a female singer. However, ""travesti"" mezzo-sopranos had been used earlier by both Handel and Mozart, sometimes because a castrato was not available, or to portray a boy or very young man, such as Cherubino in ""The Marriage of Figaro"". In 20th-century opera, composers continued to"
"12 variations for piano and violin, WoO 40, on the theme of """". Se vuol ballare The cavatina """" is an aria for baritone or bass from the first act of the opera ""The Marriage of Figaro"" by Wolfgang Amadeus Mozart. The libretto was written by Lorenzo Da Ponte based on a stage comedy by Pierre Beaumarchais, La folle journée, ou le Mariage de Figaro (1784). The Italian title means ""If you want to dance"". The song is sung by Figaro upon discovering the count's ploys to exercise his newly reasserted feudal , the """" to sleep with Figaro's wife"
"title role in Verdi's ""Rigoletto"", Iago in Verdi's ""Otello"", Amonasro in Verdi's ""Aida"", Renato in Verdi's ""Un ballo in maschera"", Figaro in Rossini's ""Il barbiere di Siviglia"", Tonio in ""Pagliacci"", Barnaba in Amilcare Ponchielli's ""La Gioconda"" among others. In addition to frequently singing opposite his wife on the operatic and concert stage, Rimini also performed frequently with Amelita Galli-Curci. The two of them sang their first Figaro and Rosina in ""Il barbiere di Siviglia"" together with the Chicago Opera Company among many other performances. Although Rimini primarily worked in Chicago, he and his wife did occasionally travel to other parts"
"Leo Nucci Leo Nucci (born 16 April 1942) is an Italian operatic baritone, particularly suited to Verdi roles. Born at Castiglione dei Pepoli, near Bologna, he studied with Giuseppe Marchese and made his stage debut in Spoleto, as Figaro in ""Il barbiere di Siviglia"", in 1967, he then joined the chorus of La Scala in Milan, and made his solo debut there in 1975, again as Figaro. Nucci's career quickly took an international turn with his debut at the Royal Opera House in London, as Miller in ""Luisa Miller"", in 1978, and at the Metropolitan Opera in New York, as"
"have made a career out of singing such parts. Among these latter are singers such as Anthony Laciura, Jean Kraft, Nico Castel and Charles Anthony of the Metropolitan Opera; others include Plinio Clabassi and Karl Dönch. Notable ""comprimario"" roles, in operas which are performed often, include Antonio and Barbarina in ""The Marriage of Figaro"", the Speaker of the Temple, the Two Men in Armor, and two of the priests in ""The Magic Flute"", the Police Sergeant and Ambrogio in ""The Barber of Seville"", Count Monterone's prison guard, Count Ceprano's wife, the page, and Giovanna the nursemaid, in ""Rigoletto"", the Messenger"
"many operatic works of the 18th century have roles marked as bass that in reality are low baritone roles (or bass-baritone parts in modern parlance). Examples of this are to be found, for instance, in the operas and oratorios of George Frideric Handel. The greatest and most enduring parts for baritones in 18th-century operatic music were composed by Wolfgang Amadeus Mozart. They include Count Almaviva in ""The Marriage of Figaro"", Guglielmo in ""Così fan tutte"", Papageno in ""The Magic Flute"" and the lead in ""Don Giovanni"". In theatrical documents, cast lists, and journalistic dispatches that from the beginning of the"
"for the first time the role of Figaro in Rossini's opera, character which he interpreted for a long time in Italy and abroad. As a baritone, Veccia began a career which brought him to sing in many halls and theaters of all the world (Teatro alla Scala, Arena di Verona, Concertgebouw in Amsterdam). His brother is the conductor Simone Veccia], founder of Piccola Orchestra '900 in Rome. Angelo Veccia Angelo Veccia (21 March 1963) is an Italian operatic baritone. Angelo Veccia began his musical studies in the Academy of St Cecilia in Rome, the city of his birth, with his"
"why he has followed her to Seville, by way of singing his answer to the tune of the song. Figaro tells the Count that Rosine is the ward of Dr. Bartholo, and adds that as he is the doctor's barber and apothecary, he frequents the house. He proposes a plan to smuggle the Count into the house by disguising him as a drunken soldier in need of lodging. The two are interrupted when they overhear Dr. Bartholo making plans to secretly marry Rosine during the night, before he leaves to see his friend Bazile, who is to make the arrangements."